Written October 27, 2014
No wonder this opera isn't done often: it's surprising to say that Rosini's music is a bore, but here it is, for three tedious hours; the libretto is even worse, so banal and repetitious. Mary Zimmerman's production of it made it still worse: awkward movements, ugly sets and equally stupid costumes. The only saving aspect was Reneé Fleming's excellent acting and singing. Hopefully the Met will stay away from Zimmerman in the future.
Written May 03, 2010
I love being able to see Met operas live on screen. I was not familiar with Armida, but it had six wonderful tenors, the best ballet scene I've ever seen in an opera, and Renee Fleming whom I've heard and seen before and think her voice first class. I loved all the arias- tenors and hers, and especially hers, the final one most of all. I loved the tenors' trio. All the duets were great too; tenor and tenor or tenor and soprano This opera has fantastic music and I was surprised to learn that it is so rarely performed. The only negative thing I have to say is that Rinaldo was so young that Armida looked older than he. [The hair color of her wig aged her.] But that happens in opera to get the best voices.
Written November 30, 2014
The three hours passed very quickly! Amazing voices by everyone in the cast; a wonderful evening of music. Would see again and definitely recommend! Renee Fleming was outstanding. Sets were a little sparse but very clever and unusual.
Written July 11, 2013
Highly enjoyed this production. I am a huge fan of Renee Fleming and she was sublime.
The Opera in HD offering are great because I can see them in my home town. This also interview the stars and you learn more about the production. Finally, you can see every detail, which you can't in a live performance.
Written December 25, 2014
For such a silly plot (like many operas) this Rossini 'Armida' was marvelously done with superb singing (and acting, amusingly overdone) from the two lovers. Renee Fleming as Armida the witch bewitched with her grace and vocal range and Lawrence Brownlee with his creamy voice - believable victim of her love. The ballet was delightful, the addition of the little Cupid (girl) throughout a stroke of genius. The camera work on the orchestra during the overture was superior. The set was simple but clever and fun. The costumes were unnecessrily clumsy though the colors in Act 1 were stunning. The 'nymphs' alas were mainly on the heavy side, though perhaps calling them 'nymphs' was to show the blindness of bewitchment (nah, not really).
Thank you Met, thank you camera crew, thank you to Summer Encore cinema participants. Hurray!